Podcasts about street chant

In the first episode, Johnny talks to Billie Rogers. A bit of a local legend, as the kick-ass bass player in the New Zealand band Street Chant, Billie is one of a select few who has won the prestigious Taite Music Prize. This was awarded to the band in 2017 for their second album, Hauora. These days, Billie can be found at Auckland's glorious Hollywood Avondale, where she is the venue manager, dealing with all their many film screenings and also their music concerts. Our conversation was recorded at the Hollywood, in early August of 2022, and covers many subjects including Baz Luhrmann, Tom Cruise, Michael Keaton, Quentin Tarantino, John Hughes films, and of course I asked her about her band Street Chant, and opening for the Lemonheads among other things. Many thanks to Dave and Lee from the Something Wicked podcast, who were very helpful in getting me to this point, James Van As who wrote and performed the brilliant music (check out James' superb iPhone game Loco Looper), and Willow Van As who designed the amazing artwork and provided general podcast support. Please like and subscribe to the show. You can contact the show on Twitter @MyMovieDNA, or on email at MyMovieDNA@gmail.com.

This week, Sam and Geneva are reunited for the first time in weeks. To celebrate, they take a look at the debut album from Street Chant "Means." Release in 2010, this record is a New Zealand indie classic and the album that set Street Chant on their way as a band.  Songs played - Less Chat, More Sewing - Blister  - Yaba Ara 

This weeks guests are Street Chant front woman Emily Littler and former librarian and radio personality Sigrid Yiakmis. We talk about music, following your dreams, living life to the fullest and why Sigrid cried during mad max. If you want to help support the podcast head to https://www.patreon.com/HNTBAA

Hildegard of Bingen was many things: a religious leader, a prolific letter-writer, a visionary prophet, possibly a compiler of medical lore, and certainly one of the most important composers of the 12th century. In recent years, Hildegard's reception in academic circles has, for good and compelling reasons, focused on her status as a powerful, educated, and brilliantly creative woman in an era when few women were afforded such opportunities. But this has not been Hildegard's only legacy. Jennifer Bain‘s recent book, Hildegard of Bingen and Musical Reception: The Modern Revival of Medieval Composer (Cambridge University Press,2015), charts the 19th-century reception of Hildegard's life and music, and in doing so provides valuable perspective on the version of Hildegard that we know and love today. As Bain demonstrates, Hildegard has been in an almost constant state of revival since the early 19th century, and at every turn she has meant something different: depending on the interests of the scholars who were reviving her (who were, themselves, grappling with very specific historical circumstances, including the long-term fallout of the Napoleonic wars and the very long-term fallout of the Protestant Reformation), Hildegard has been important as a German, a Catholic, a Benedictine, and a mystic, as well as as a woman. Further reading/listening: For listeners who are unfamiliar with Hildegard's music, here is LaReverdie's recording of one of the melodies mentioned in the interview: O virga ac diadema. There are also three publications by Prof. Bain which expand on issues that we discussed in this interview: “Hildegard on 34th Street: Chant in the Marketplace.” Echo: A Music-Centered Journal 6, no. 1 (2004). “Hildegard, Hermannus, and Late Chant Style.” Journal of Music Theory 52, no. 1 (2008). “Hooked on Ecstasy: Performance ‘Practice' and the Reception of the Music of Hildegard of Bingen,” in The Sounds and Sights of Performance in Medieval and Renaissance Music: Essays in Honour of Timothy J. McGee, ed. Brian Power and Maureen Epp (Aldershot: Ashgate, 2009), 253-273. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hildegard of Bingen was many things: a religious leader, a prolific letter-writer, a visionary prophet, possibly a compiler of medical lore, and certainly one of the most important composers of the 12th century. In recent years, Hildegard's reception in academic circles has, for good and compelling reasons, focused on her status as a powerful, educated, and brilliantly creative woman in an era when few women were afforded such opportunities. But this has not been Hildegard's only legacy. Jennifer Bain‘s recent book, Hildegard of Bingen and Musical Reception: The Modern Revival of Medieval Composer (Cambridge University Press,2015), charts the 19th-century reception of Hildegard's life and music, and in doing so provides valuable perspective on the version of Hildegard that we know and love today. As Bain demonstrates, Hildegard has been in an almost constant state of revival since the early 19th century, and at every turn she has meant something different: depending on the interests of the scholars who were reviving her (who were, themselves, grappling with very specific historical circumstances, including the long-term fallout of the Napoleonic wars and the very long-term fallout of the Protestant Reformation), Hildegard has been important as a German, a Catholic, a Benedictine, and a mystic, as well as as a woman. Further reading/listening: For listeners who are unfamiliar with Hildegard's music, here is LaReverdie's recording of one of the melodies mentioned in the interview: O virga ac diadema. There are also three publications by Prof. Bain which expand on issues that we discussed in this interview: “Hildegard on 34th Street: Chant in the Marketplace.” Echo: A Music-Centered Journal 6, no. 1 (2004). “Hildegard, Hermannus, and Late Chant Style.” Journal of Music Theory 52, no. 1 (2008). “Hooked on Ecstasy: Performance ‘Practice' and the Reception of the Music of Hildegard of Bingen,” in The Sounds and Sights of Performance in Medieval and Renaissance Music: Essays in Honour of Timothy J. McGee, ed. Brian Power and Maureen Epp (Aldershot: Ashgate, 2009), 253-273. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hildegard of Bingen was many things: a religious leader, a prolific letter-writer, a visionary prophet, possibly a compiler of medical lore, and certainly one of the most important composers of the 12th century. In recent years, Hildegard's reception in academic circles has, for good and compelling reasons, focused on her status as a powerful, educated, and brilliantly creative woman in an era when few women were afforded such opportunities. But this has not been Hildegard's only legacy. Jennifer Bain‘s recent book, Hildegard of Bingen and Musical Reception: The Modern Revival of Medieval Composer (Cambridge University Press,2015), charts the 19th-century reception of Hildegard's life and music, and in doing so provides valuable perspective on the version of Hildegard that we know and love today. As Bain demonstrates, Hildegard has been in an almost constant state of revival since the early 19th century, and at every turn she has meant something different: depending on the interests of the scholars who were reviving her (who were, themselves, grappling with very specific historical circumstances, including the long-term fallout of the Napoleonic wars and the very long-term fallout of the Protestant Reformation), Hildegard has been important as a German, a Catholic, a Benedictine, and a mystic, as well as as a woman. Further reading/listening: For listeners who are unfamiliar with Hildegard's music, here is LaReverdie's recording of one of the melodies mentioned in the interview: O virga ac diadema. There are also three publications by Prof. Bain which expand on issues that we discussed in this interview: “Hildegard on 34th Street: Chant in the Marketplace.” Echo: A Music-Centered Journal 6, no. 1 (2004). “Hildegard, Hermannus, and Late Chant Style.” Journal of Music Theory 52, no. 1 (2008). “Hooked on Ecstasy: Performance ‘Practice' and the Reception of the Music of Hildegard of Bingen,” in The Sounds and Sights of Performance in Medieval and Renaissance Music: Essays in Honour of Timothy J. McGee, ed. Brian Power and Maureen Epp (Aldershot: Ashgate, 2009), 253-273.

Hildegard of Bingen was many things: a religious leader, a prolific letter-writer, a visionary prophet, possibly a compiler of medical lore, and certainly one of the most important composers of the 12th century. In recent years, Hildegard’s reception in academic circles has, for good and compelling reasons, focused on her status as a powerful, educated, and brilliantly creative woman in an era when few women were afforded such opportunities. But this has not been Hildegard’s only legacy. Jennifer Bain‘s recent book, Hildegard of Bingen and Musical Reception: The Modern Revival of Medieval Composer (Cambridge University Press,2015), charts the 19th-century reception of Hildegard’s life and music, and in doing so provides valuable perspective on the version of Hildegard that we know and love today. As Bain demonstrates, Hildegard has been in an almost constant state of revival since the early 19th century, and at every turn she has meant something different: depending on the interests of the scholars who were reviving her (who were, themselves, grappling with very specific historical circumstances, including the long-term fallout of the Napoleonic wars and the very long-term fallout of the Protestant Reformation), Hildegard has been important as a German, a Catholic, a Benedictine, and a mystic, as well as as a woman. Further reading/listening: For listeners who are unfamiliar with Hildegard’s music, here is LaReverdie’s recording of one of the melodies mentioned in the interview: O virga ac diadema. There are also three publications by Prof. Bain which expand on issues that we discussed in this interview: “Hildegard on 34th Street: Chant in the Marketplace.” Echo: A Music-Centered Journal 6, no. 1 (2004). “Hildegard, Hermannus, and Late Chant Style.” Journal of Music Theory 52, no. 1 (2008). “Hooked on Ecstasy: Performance ‘Practice’ and the Reception of the Music of Hildegard of Bingen,” in The Sounds and Sights of Performance in Medieval and Renaissance Music: Essays in Honour of Timothy J. McGee, ed. Brian Power and Maureen Epp (Aldershot: Ashgate, 2009), 253-273. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hildegard of Bingen was many things: a religious leader, a prolific letter-writer, a visionary prophet, possibly a compiler of medical lore, and certainly one of the most important composers of the 12th century. In recent years, Hildegard’s reception in academic circles has, for good and compelling reasons, focused on her status as a powerful, educated, and brilliantly creative woman in an era when few women were afforded such opportunities. But this has not been Hildegard’s only legacy. Jennifer Bain‘s recent book, Hildegard of Bingen and Musical Reception: The Modern Revival of Medieval Composer (Cambridge University Press,2015), charts the 19th-century reception of Hildegard’s life and music, and in doing so provides valuable perspective on the version of Hildegard that we know and love today. As Bain demonstrates, Hildegard has been in an almost constant state of revival since the early 19th century, and at every turn she has meant something different: depending on the interests of the scholars who were reviving her (who were, themselves, grappling with very specific historical circumstances, including the long-term fallout of the Napoleonic wars and the very long-term fallout of the Protestant Reformation), Hildegard has been important as a German, a Catholic, a Benedictine, and a mystic, as well as as a woman. Further reading/listening: For listeners who are unfamiliar with Hildegard’s music, here is LaReverdie’s recording of one of the melodies mentioned in the interview: O virga ac diadema. There are also three publications by Prof. Bain which expand on issues that we discussed in this interview: “Hildegard on 34th Street: Chant in the Marketplace.” Echo: A Music-Centered Journal 6, no. 1 (2004). “Hildegard, Hermannus, and Late Chant Style.” Journal of Music Theory 52, no. 1 (2008). “Hooked on Ecstasy: Performance ‘Practice’ and the Reception of the Music of Hildegard of Bingen,” in The Sounds and Sights of Performance in Medieval and Renaissance Music: Essays in Honour of Timothy J. McGee, ed. Brian Power and Maureen Epp (Aldershot: Ashgate, 2009), 253-273. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hildegard of Bingen was many things: a religious leader, a prolific letter-writer, a visionary prophet, possibly a compiler of medical lore, and certainly one of the most important composers of the 12th century. In recent years, Hildegard’s reception in academic circles has, for good and compelling reasons, focused on her status as a powerful, educated, and brilliantly creative woman in an era when few women were afforded such opportunities. But this has not been Hildegard’s only legacy. Jennifer Bain‘s recent book, Hildegard of Bingen and Musical Reception: The Modern Revival of Medieval Composer (Cambridge University Press,2015), charts the 19th-century reception of Hildegard’s life and music, and in doing so provides valuable perspective on the version of Hildegard that we know and love today. As Bain demonstrates, Hildegard has been in an almost constant state of revival since the early 19th century, and at every turn she has meant something different: depending on the interests of the scholars who were reviving her (who were, themselves, grappling with very specific historical circumstances, including the long-term fallout of the Napoleonic wars and the very long-term fallout of the Protestant Reformation), Hildegard has been important as a German, a Catholic, a Benedictine, and a mystic, as well as as a woman. Further reading/listening: For listeners who are unfamiliar with Hildegard’s music, here is LaReverdie’s recording of one of the melodies mentioned in the interview: O virga ac diadema. There are also three publications by Prof. Bain which expand on issues that we discussed in this interview: “Hildegard on 34th Street: Chant in the Marketplace.” Echo: A Music-Centered Journal 6, no. 1 (2004). “Hildegard, Hermannus, and Late Chant Style.” Journal of Music Theory 52, no. 1 (2008). “Hooked on Ecstasy: Performance ‘Practice’ and the Reception of the Music of Hildegard of Bingen,” in The Sounds and Sights of Performance in Medieval and Renaissance Music: Essays in Honour of Timothy J. McGee, ed. Brian Power and Maureen Epp (Aldershot: Ashgate, 2009), 253-273. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hildegard of Bingen was many things: a religious leader, a prolific letter-writer, a visionary prophet, possibly a compiler of medical lore, and certainly one of the most important composers of the 12th century. In recent years, Hildegard’s reception in academic circles has, for good and compelling reasons, focused on her status as a powerful, educated, and brilliantly creative woman in an era when few women were afforded such opportunities. But this has not been Hildegard’s only legacy. Jennifer Bain‘s recent book, Hildegard of Bingen and Musical Reception: The Modern Revival of Medieval Composer (Cambridge University Press,2015), charts the 19th-century reception of Hildegard’s life and music, and in doing so provides valuable perspective on the version of Hildegard that we know and love today. As Bain demonstrates, Hildegard has been in an almost constant state of revival since the early 19th century, and at every turn she has meant something different: depending on the interests of the scholars who were reviving her (who were, themselves, grappling with very specific historical circumstances, including the long-term fallout of the Napoleonic wars and the very long-term fallout of the Protestant Reformation), Hildegard has been important as a German, a Catholic, a Benedictine, and a mystic, as well as as a woman. Further reading/listening: For listeners who are unfamiliar with Hildegard’s music, here is LaReverdie’s recording of one of the melodies mentioned in the interview: O virga ac diadema. There are also three publications by Prof. Bain which expand on issues that we discussed in this interview: “Hildegard on 34th Street: Chant in the Marketplace.” Echo: A Music-Centered Journal 6, no. 1 (2004). “Hildegard, Hermannus, and Late Chant Style.” Journal of Music Theory 52, no. 1 (2008). “Hooked on Ecstasy: Performance ‘Practice’ and the Reception of the Music of Hildegard of Bingen,” in The Sounds and Sights of Performance in Medieval and Renaissance Music: Essays in Honour of Timothy J. McGee, ed. Brian Power and Maureen Epp (Aldershot: Ashgate, 2009), 253-273. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, you'll hear five songs that remind me of the music I loved in high school. Now, it is known as post-punk or post-punk pop or maybe "alternative". Back then we called it "New Wave", which was really the music of about a decade earlier. Anyway, regardless of what genre you put it in, these songs have a certain feeling that I love. I hope you love them too. The songs are "Apk" by Цынник, "Sink" by Street Chant, "Tic For Tac" by Endless Column, "Replacing You" by Ancient Lasers, and "Take Me Away" by Sam Riffmaster.